Please use this identifier to cite or link to this item: https://www.um.edu.mt/library/oar/handle/123456789/9139
Title: The creative collaboration between painters and photographers in Malta : two case studies
Authors: Tonna, Caroline
Keywords: Painters -- Malta
Photographers -- Malta
Art, Modern -- 20th century -- Malta
Issue Date: 2013
Abstract: The dissertation is structured around four main areas of research. Chapter one deals with the invention of photography followed by the preliminary influences it had on the art of painting. Chapter two studies the introduction of photography in Malta and its impact on the artistic scene. The following two chapters focus on the different types of collaboration between Maltese artists and photographers from the end of the nineteenth century to the midtwentieth century. Chapter three looks at the collaboration between Giuseppe CaB and his son U go who photographed Margaret, Giuseppe Cali's daughter, wearing biblical costumes and posing in various ways to mimic biblical characters. These photographs served Cali as an important visual tool to depict religious themes. Giuseppe Cali also collaborated with professional photographer Richard Ellis in a genre painting. The period covered is the 1880s and the 1920s. Chapter four focuses on the work and studies of Edward Caruana Dingli and his collaboration with Richard Ellis in the 1920s. Edward's relationship with Ellis developed into a business association and they promoted their work for the tourist industry. Ellis also photographed Edward's paintings for documentation purposes. Robert Caruana Dingli collaborated with Ellis too by exhibiting his works at his studio. Robert also made use of a photograph taken by Ellis for a posthumous portrait. The Caruana Dingli brothers experimented with their own camera and some of their photographs have been selected and juxtaposed to their paintings in order to draw comparisons. The two case studies on the collaboration between artists and photographers and their own use of photography will provide an understanding of how painters responded to the influence of photography and how it provided them with expanded and more dynamic visual possibilities afforded by it. This work is mainly based on the primary documents of academic books, journals and thesis, and photographs mostly gathered from the private collection of Casa Rocca Piccola, Ian Ellis archives and family albums belonging to the artists under study. These photographs contain essential material which helps to compare with paintings executed by painters who used them as a visual source for their creative inspiration. Literature review, personal diaries and letters, various articles from local newspapers from the late nineteenth century and mid-twentieth century have been vital material to build the reference base for this dissertation. As a secondary source, I relied mainly on interviews with family members of the painters and photographers. The main challenge encountered was the lack of information on photographs in hand and the absence of written documentation on how painters reacted to the invention of photography and how it influenced their work. Another difficulty was to compare Giuseppe Cali's paintings in various churches to photographs taken by his son Ugo, and further study is required to identify more photographs to Cali' s paintings.
Description: B.A.(HONS)HIST.OF ART
URI: https://www.um.edu.mt/library/oar//handle/123456789/9139
Appears in Collections:Dissertations - FacArtHa - 2013

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